Yvonne De Grazia
My work consists of various aspects - it is modular and has a rational presence within a fictitious circle. Modular means the possibility of undefined registries – they do not have to be proven to be functional. At the same time my practice consists of repetitive actions, such as creating inventories. They derive of existing images, texts, patterns or memories, which are extracted - they no longer belong to the structure they were assigned to.
Instead they are blended into different registries – and become autonomous and fictional, like ‘ghost content’.
It can be determined as a correspondent measure giving access to an uncommon measure of the common configuration (functional, commercial and mediatized), which we experience, apply and reject in our collective awareness.
I am taking ownership of these common configurations and transforming these rational grids, out of urgency and confusion into mental and strictly personal catalogue or patterns. This adds a fictitious conception to my work.
The process vitalises and renders the surrounding configurations less urgent and less confusing, less rigid. Facts and figures are distressed and inserted as a part of a larger imagination than the function it was conceived for.
By fictionalising rational and limited situations, I manage also to simplify and clarify emotional structures not only for myself but also for a larger groups, means the society of which inevitably I am a module.
I attract the attention to facts and figures that are to be forgotten once their single function is fulfilled - they are dissolved into organic entities, which are not supposed to be visualised. Facts and figures are de-factualised, dissolved and de-figured, commercial or mediatised values devalued and orders presented disorderly.
My recent work includes works on textile, drawing, video – the research conveys a visual proposal of a collective past and individual memory.
I gather data and images – attracted by sensations for fear, death, life: fast web searches or choice of explicit items position the immediacy of searched results and are a contrast to a slow evolution of a collective past.
Selected elements are rearranged differently and manipulated until deployed for new materials.
This process emphasis typical female craftwork: low-ranked, repetitive and – and as a sort of silent protest.
Subjectivity fights back facts and undermines a delivered vision of the world - strictly individual feelings and intuition is rendered in a visual system throughout sensitive and meaningful transformation.